Simon Modery
Forum Replies Created
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Click on the button on the bottom right side of you viewer. It shows the letter A in a filmstrip. From the dropdown menue you can select Bars and Tones. This gives you a selection of colorbars and beeeep tones. You can edit them into the timeline like any other clip.
Head of Postproduction
Motherlode -
Well, it really depends on how the footage was shot. The 5D can shoot 720 and 1080. Progressive as well as interlaced. Import one of the original files into FCP, right-click on the clip and select Item Properties in the dropdown-menue. There you can see what the framesize and the field-dominanceof the clip has. Then use these settings in MPEG streamclip.
Apple Prores is definitly the right codec to use (Don’t go for the HQ one, it is pointless or even harmful for 8bit footage).I use this program to convert 5D footage, it is lightly better than Streamclip in my oppinion. It is called 5D to RBG and just transcodes 5D footage into prores.
https://rarevision.com/5dtorgb/Head of Postproduction
Motherlode -
You are right. There is normally no need to render. My only guess is that somehow your sequence was set incorrectly. Right-click on one of your clips and choose ‘Item properties’ in the dropdown menue.
Note down following attributes:
– Vid Rate
– Frame Size
– Compressor
– Field DominaceClose the window and select Sequence- Sequence Settings in the top menue. Another window opens showing you the attributes of your timeline. Check if everything is set to the same values, if not change it.
Head of Postproduction
Motherlode -
Dynamic/unlimited is exactly what not to use, bacause it reduces quality in order not to skip frames. For full quality playback choose “Safe RT” and “Playback Video Quality” set to “high”.
Both adjustments can be made in the RT tab in the upper left corner of your timeline window.Head of Postproduction
Motherlode -
Yes, that is how it works. You import the EDL into DaVinci, which creates an empty skeleton. Then you link the media files to it. (like you do in FCP when it says “Media Missing”)
Both, FCP and DaVinci support EDLs, so there is no need for any Plug Ins.
Head of Postproduction
Motherlode -
Yes, EDL is the common language every editing system shares. So there should not be any problem going from Mac to PC or into Premiere or any other editing/mastering program.
XML is a more advanced format, that contains more information than an EDL – EDLs only containing the sequence and source timecode information for every edit. An XML can also contain information about filters applied to certain clips, split-screens and colour-grading information. But due to this extra information they might create problems when exchanging a sequence across certain types of software.The most basic and common EDL is the CMX 3600. One thing to watch out for is that an EDL can only contain one video track, so if your editor spread clips across multiple video tracks, it all needs to be reduced to one track.
Head of Postproduction
Motherlode -
Well, the 5D doesn’t shot RAW, what it records is a H.254 compressed MOV. (unless you take stills, but I think we talk about moving pictures here)
The best workflow in my experience is to convert it into ProRes using “5D to RGB” first.(https://rarevision.com/5dtorgb)
FCP internal colour correction is’t really up to any professional standard. If you bought “Final Cut Studio” you will also have a program called “Color” on your machine, that is the professional grading software that comes with FCP.
An other option is Davincie Resolve, which has a free “light” version you can download here:
https://www.blackmagicdesign.com/products/davinciresolve/softwareHead of Postproduction
Motherlode -
It certainly doesn’t make things worse, but I guess it doesn’t increase the image quality either. If something was shot H264 (I guess it is 5D footage) you will always have some shortcomings in the quality of the image.
Programms like 5D to RGB (https://rarevision.com/5dtorgb) produce a slightly better Pro-Res then the internal FCP re-encoding, but I don’t think it will make a noticeable difference on the final DVD.
The DVD standard is ages old (from 1994 if I remember correctly), so even a H264 is a good master to encode from.Head of Postproduction
Motherlode -
Depends on who your client is. If they are technical people just ask for the exact specs. If the client doesn’t know about these things I normally go with a H.264 MOV (just like you suggested).
But I also head cases where they were unable to play anything more advanced then the 10 years old, basic WMV format 🙂Head of Postproduction
Motherlode -
Will you transfer a 1080 H264 onto a SD Digibeta?
Head of Postproduction
Motherlode